An Approach to

Jazz Piano
Fifth Edition

Charles Austin
Introduction
This book is an attempt to address the techniques of piano playing as applied to the playing of jazz.
It is also an attempt to address theoretical knowledge, and the application of coherent thinking when
improvising jazz music. Many aspects of preparation are outlined, including scales, chords, chord
symbols, chord/scale relationships, voicings, voice-leading, and the creation of melody.
This volume outlines the materials, theory, basics of melody, and voicing styles which should generate
a foundation upon which to build upon any jazz piano/keyboard approach. The material is progressive
and is based on the acquisition of the simpler materials to the point where they can be subconsciously
recalled. The important area of jazz rhythm is outlined in the rhythm preface regarding the playing of
a swing feel that “swings” through note-for-note dynamics. The connections between rhythmic feels
are also outlined.
There is no conscious attempt to link the language of jazz to classical thinking and terminology, but
there are some connections that are referred to when they can be utilized in the language of jazz.
The student approaching this book should have some background in playing the piano. A working
knowledge of scales and some classical theory will also be of benefit.
The whole idea of jazz is to play by ear, a skill that should be practised by learning tunes by ear and
working them out both harmonically and melodically in keys. The practice of Solfege is helpful in
the understanding of the tonal nature of melody. Hearing/playing, hearing/writing (transcribing),
and reading/hearing/playing are skills that should be acquired. Pre-hearing and then playing ideas as
they are heard is a skill to be practised. Many beginning jazz players play whatever they can rather
than working towards a workable musical idea. This book stresses musical thinking habits from the
beginning — players are encouraged to work with simple ideas and with repetition, learn how to
develop these ideas and build compositionally from there.
I hope this text will help with the organization of material and provide the thoroughness needed to
build a comprehensive, engaging, and professional approach to the glorious task at hand. A patient,
consistent, balanced approach is the most obvious requirement for success.
Charles Austin
Table of Contents
Chapter Page

Rhythm Preface……………………………………………………………………….. (i)

1 The Keyboard: Interval Building Blocks ………………………………………….. 1

2 Intervals from the Major Scale: The First Source Scale…………………………. 2
3 Inversions of Intervals ………………………………………………………………. 3
4 Compound Intervals ………………………………………………………………….4
5 Key Signatures Outlined ……………………………………………………………. 5
6 Simple and Compound Intervals in Major Keys…………………………………. 6
7 The Solfege System and Directional Tendencies of Scale Tones ……………... 9
8 Common Intervalic Sequences …………………………………………………….. 10
9 The Remaining Source Scales/Sequences ………………………………………… 14
10 Intervals in Sequence: A Matrix …………………………………………………… 16
11 Triads …………………………………………………………………………………... 20
12 Open Voiced Triads ……………………………………………………………………33
13 Triadic Harmony in Popular Tune Style ……………………………………………37
14 Voicing Melody in the Right Hand …………………………………………………43
15 7th Chords …………………………………………………………………………….. 48
16 Chord Voicing Part I: An Integrated Left Hand 7th Chord Voicing Approach
— A Stride and Shell Technique ……………………………………………….. 61
17 Harmonic Function Part I: Tonic, Dominant, and Subdominant ……………… 67
18 The Major Scale, Modes, Scale-Tone 7th Chords and Basic Improvisation …. 72
19 Improvising on Chord Changes: Phrasing and Guide Tones ………………….. 81
20 Chord Qualities/Extensions in Chord Symbols and 7th-Chord-Tone
Extension-Substitution Voicing Solutions …………………………………… 94
21 Chord Voicing Part II: An Integrated Left Hand Chord Voicing Approach
— Guide Tones and Extensions ……………………………………………….. 123
22 Source Scales and Scale-Tone Intervals …………………………………………… 144
23 Source Scale Construction and Tetrachords ………………………………………149
24 Source Scales and Scale Tone Chords, Part I: Diatonic Scales ………………… 161
25 Source Scales and Scale Tone Chords, Part II: The Symmetrical Scales
— The Diminished and Whole-Tone Scales ………………………………….. 166
26 Scale/Chord Source-Scale Overview ………………………………………………. 174
27 Secondary Dominants: Conserving the Sense of Key ………………………….. 179
28 Secondary Dominants: Function, Source Scales, Modal Borrowing
and Associated Keys ………………………………………………………………184
29 Secondary Dominants and the Emergence of Dominant Substitution:
Tritone Substitution and Sub. V7………………………………………………. 189
30 Secondary Dominants and Improvisation …………………………………………194
31 Secondary Dominants and Related ii Chord/Scales: Conserving the Key …… 198
32 Secondary Dominants and Inside to Outside Scale Choices ……………………205
33 SubV7 (Tritone—SubV7), Secondary SubV7, and Related II ……………………217
34 Harmonic Function Part II: bVIIMa7 Subdominant, Subdominant Minor,
and Modal Borrowing (part II) ………………………………………………………221
35 Harmonic Function Part III:Tonic Minor Chord/Scales and Minor ii—V ………230
36 Harmonic Function Part IV: Diminished 7th Chord Function: A Justification
of Dominant 7th Chord Motion …………………………………………………237
37 Related Dominants, Related ii—V’s and Chord shapes from a Symmetrical
Diminished Chord/Scale …………………………………………………………….. 251
38 The Blues Part 1: Form, Blues Scales, and Improvisation …………………………259
39 The Blues Part II: A Vehicle for Progressive Harmonic Change ………………..268
40 Chord Families/Chord Function Versus Chord Function/Chord Families:
a Cross-Reference Review ………………………………………………………. 275
41 Chord Voicing Part III: Two Hands ………………………………………………….280
42 Pluralities In Extended Chords: Polychords, the Identification of Chord
Stacks Between the Hands ………………………………………………………289
43 Slash-Chords: Chord Forms over Bass Notes, Creating Chord Quality ……… 297
44 The “Sound”: A Slash-chord Approach to Jazz Piano Voicing ……………………302
45 Pentatonic Scale/Chords: Voicings, Pentatonic-shapes, Altered Pentatonics,
Source Scales, and Function ……………………………………………………. 330
46 Open 7th-Chord Voicings: Drop 2, Drop 3, Drop 2 & 4 And Use As
Passing Chord Harmony ………………………………………………………… 356
47 Comping: Articulation, Time Feels, Voicing-Style-Approach, And Form ……. 383
48 The Thickening of a Melody Line: Locked-Hands, Slash-Chord, Drop 2,
Pentatonics, Quartal Harmony ………………………………………………… 391
49 Scales with an Added Chromatic Passing Tone ……………………………………399
50 Polarized Passing-Tone Scales and Improvisation ……………………………… 410
51 Neighbour Tones in Jazz: Diatonic/Chromatic-Approach Tones,
Deflection, Change-Tones ……………………………………………………….416

Index……………………………………………………………………………………..…….. 433
Glossary of Terms ……………………………………………………………………………. 437
 Creating 2, 3, and 4 note motifs and developing them through repetition and variation.

The overriding principle in this exercise is that of staying on the topic. Keep the motif in the ear.
Listen, hear, and know what you are going to play. Practise being coherent. Practise repetition
and development of motif - learn the scales, and their modes. In a given mode, learn (see figure
18-5) which notes are stable and which notes are less stable, and which notes are “avoid tones.”
Above all, listen and play what you hear — based on what you know, and treat what you are
learning like a language. Any language has purpose, and the acquisition of a musical language is
for the purpose of coherent, intelligent, and heartfelt expression. Staying with an idea however
humble is generally better than running through a plethora of disjointed licks which can serve
no purpose. One must learn to “speak” this music in a coherent manner. Remember your
previous idea (or phrase). Try to relate to it coherently in the development of those ideas. It is,
no doubt best to approach improvisation with an honest and positive approach. It requires
patience and persistence.
figure 18-5

Cma 7 Am i 7 Dmvariation
i7 G7
4•1 Through repetition, develop a (2 note) motif through the use of changing rhythms,

œ œ Œ Œ ‰ œ œ. ‰ œJ œj ‰ Œ œ œ œ Œ Ó
variation

œÓ
motif variation

& J
avoid tone adjustment

J ¿
4•2 Develop a (2 note) motif by linking repetitions of the motif through mostly stepwise

Cma 7 Am i 7 Dm i 7 G7
motion,

œ œ Œ ‰ œ œ œ œ œ ‰ œJ œ œ œ œ œ ¿œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ
motif with avoid tone adjustment

&
motif

J J

Cma 7
Am i 7 Dm i 7 G7
4•3 Develop a (2 note) motif by linking repetitions of the motif through mostly leaping motion,

œ œ œ œœ‰Jœœ œ œ œ ¿
œœ œœ œ œ œ œ œ œ ‰ jœ œ œ
& œŒ œ œ œ
4•4 Develop a motif by retaining the original (short) melodic shape and play it sequentially in

Cma 7 Am i 7 Dm i 7 G7
scale steps

œœŒ Ó œœŒ Ó œœŒ Ó œœŒ Ó

motif down

&
stepwise

4•5 Develop the motif by enlarging or contracting one interval in your original idea.
(augmentation) (diminution)

Cma 7 Am i 7
œDm i 7 G7
motif expansion expansion contraction

œ œœŒ Ó œœŒ Ó
& œŒ Ó œŒ Ó
- 77 -
27 - Secondary Dominants: Conserving the Sense of Key.
1•0 Secondary Domininant 7ths

1•1 Secondary dominants can be used to conserve the sense of the original key.

Secondary dominants operate like any dominant 7th chord and are used to enhance different
functional aspects within a given tonality. They are not used as modulations per-se, but function
primarily within the given key. Since the roots of secondary dominant chords are based on the
actual scale tones of a key, they are strongly related to the key. This relationship to the key is
enhanced when applied secondary dominants scales conserve the original key as closely as
possible. Figure 27-1 features the C major scale with scale-tone 7th chords written on each note
of the scale. These scale-tone 7ths and their associated modes in C major (see figure 27-2),
somewhat resemble the secondary dominants and their associated dominant scales.

I ma7 ii mi7 iii mi7 IV ma7 V7 7

wwwvii mi7(b5)
wwwvi mi
figure 27-1 C major scale and scale-tone 7ths

ww www www www

& www ww w w w w w
w
figure 27-2 Scale tone 7ths and associated modes of C major

I ma7 ii mi7 iii mi7 IV ma7

www w w w w w www w w w w w www w w w w w
C ionian (major) D dorian E phrygian F lydian

& wwww w w w w w w w www www www

7
www
V 7 G mixolydian
w w
vi mi A aeolian
w
w w w w wwwvii mi7(b5)Bwlocrian
w w ww
& w ww w w w w
www w w ww w

1•2 The only difference between the scale-tone 7ths and the secondary dominants is a one-note
chromatic alteration in the secondary dominants. This one-note alteration applies to the
difference between the original modes and the secondary dominant scales as well. Secondary
dominant chords must have, in their structure, a major 3rd, and a minor 7th interval (from the

*
root). This necessitates the need for one chromatic alteration of the original major scale/chord
(see in figure 27-3), in order to create each secondary dominant scale/chord.
figure 27-3

* II 7 * III 7 *
I7
b wwwIV 7 w w w w b w*
1•2•1 Seconday dominants and associated dominant scales

& b wwww w w w w w w b w # wwww w w # w w w w w # www w w # w w w w w

w
www
V 7(primary dominant)VI 7 * wVII 7(b5) *
w w w w
w w w w b ww b w w ww
& www w w # w # w w w w
ww w www ww
- 179 -
figure 29-4

FUNCT:------V 7/E----------------------------SubV7/E------------------------------------2ndary Tonic---(or Tonic)

CHORD: ----B7(#9#5)------------------------F13------------------------------------------Emi7------------(or: E6)
SOURCE: C melodic minor----------------C melodic minor--------------------------C major--------(or E major)

ww œ œ œ b œ œ œœ œœ wF13w
SCALE: -------B altered-------------------------F lydian b7---------------------------------E phrygian-----(E maj or min)

B7alt
œœ œœ b œœ wwEm i 7 E6
& b ww œ œ b œ œ œ w œ œ œ
b w œœ œ b œ œ ww ## wwww
w w
[ ]
w
R.N.A. in
key of C: VII7(#9#5)-------------------------IV13------------------------------------------iiimi7------------(III6)
SOURCE/CHORD: Cmel-min/B-----------C mel-min/F----------------
R.N.A. of
source/chord:---------- bII mel-min/I---------V mel-min/I-----------------

figure 29-5

Ami7 is iii of F
major, the root of
E altered: -- source F melodic minor----Bb lydian b7 source: F melodic minor F melodic minor,
the source scale
R.N.A. --------bII mel-min/I-------------------V mel-min/I----------------------- of E alt and Bb

B !13
source/chord: F mel-min/E7(#9#5)---------F mel-min/Bb13-----------------
E7alt A6 (Ami7 )
lyd. b7.

www œ œ œ b œ b œ œœ œœ www œ œ œœ œœ b œœ ## www www

& # ww œ œ b œ b œ œ b œ œ
bw œ œ bœ b œ w [ ] w
bw w

Fmi7 is iii of Db,

C altered: source: Db melodic minor---Gb lydian b7 source: Db melodic minor the root of
Db melodic minor,
R.N.A. --------bII mel-min/I--------------------V mel-min/I----------------------- the source scale

!13 b œ b œ œ b œ b œ b œ
source/chord: Db mel-min/C7(#9#5)-------Db mel-min/Gb13---------------- of C alt and Gb

b œ b œ
lyd. b7.

b w C7alt
b œ b œ b œ b œ œ b wwb œ G F6
www(Fmi7 )
& b n www b œ b œ b œ b œ b œ b œ bb ww b œ b œ b œ b œ b œ b œ œ
b w œ nn wwww [ ] w
bw w

- 192 -
figure 32-3 A proposal of inside-the-key to outside-the-key order of dominant scales for the

¿
primary dominant of C: G7
avoid tones

w
G7 G mixolydian
w
the most inside dominant scale in C major marked

w w
1.

& w w w ¿ —G mixolydian is the primary dominant scale

and has no notes out of the intended key
(C major) (11 is the avoid) source: C major.

w w w w
2.

& w b w w ¿
G harmonic major dominant
—G har-maj-dominant has one note out of the
key. The b9 is a darker, more tense color used in
conjunction with a brighter 13. Source: C
G harmonic major dominant add # 9
w w w
3. har-major.

& w b w b w n w ¿ —G har-maj-dom. add #9 has 2 dark ext-

ensions on b9 and #9 but still has a relatively
brighter 13. Source: C har-maj-add b7.

w w w w
G lydian b7
4.

& w w w # w —G lydian b7 has a one note extension (#11),

possibly the brightest and most intense effect.
But, 9 and 13 are relatively neutral. Source:

w b w w w
5. D mel-min.

& w w w ¿
G melodic minor dominant
—G mel-dom. features a dark b13 with a
bright 9 (half dark—half light). Source: C mel.

w bw bw w
& w w
6. G whole tone
—G whole tone has some intense notes out
of the key. b13, is dark #11 is intense. The
9 is bright and in the key.

w b w w w
7.

& w bw w ¿
G harmonic minor dominant
—G har-min-dom. is quite dark, having 2 dark
tones out of the key—b9, b13 are dark and
tense in combination. Source: C har-min.
G harmonic minor dominant add # 9
w bw w
8.

& w b w b w n w ¿ —G har-min-dom. add #9 has basically the

same character as har-dom. but with the
added tension of #9, making it darker than h.d.

w w w
9. source: C har-min-add b7.

& w b w b w n w # w
G half-whole diminished
—G half-whole diminished. An 8 tone
balanced scale: dark with b9, #9 and bright
with 13, and intense with #11 (bright-dark).

b w bw w w
10.

& w b w b w b w
G altered dominant —G altered has the most notes away from C
major, in the darkest and most compelling
dominant scale. Source: Ab mel-min.
Note the similarities with h.d(#9) and half-
The most “outside” dominant scale whole dim.
in C major (on G7)
- 207 -
C dorian

Cmi7 Dmi7 E !ma7 Gmi7 wwB !ma7

[subdom]
F7 Aº
b www
tonic minor

www b ww w
& bb www ww
ww b
bw ww b www w b ww
w
Cmi7 D !ma7 E !7 Fmi7 !
b Bww!mi7
[s.d.m.]
Gº A ma7
[s.d.m.]

b www
C phrygian

bw w
& bb www b www bbb wwww b www bb www bw bb ww
w bw
bVIIMa7 (BbMa7 in C major), is borrowed from C mixolydian. This chord acts like a subdom-
inant chord even though it is out of the original key by one flat: it still has the 4th (F) of the key
and except for the root (Bb) it looks very much like a “ii” minor chord (D minor) in the key of C.

3•0 All subdominant minor chords have a bVI of the tonic key in their structure
(in the case of C major/minor: “Ab”) in each chord.

In subdominant minor chords, the bVI in every subdominant minor (s.d.m.) chord creates a
harmonic pull which is greater than subdominant (major) yet not as strong as the dominant.
Most s.d.m. chords can work as pre-dominant chords, but they are commonly used to proceed
to tonic areas. Subdominant minor chords progressing to the tonic can effectively establish the
tonic but not to the point of “true” resolution of the tonic. This is generally reserved for the
dominant. Figure 34-2 is an update of the illustration of harmonic function found in figure
17-4. This illustration demonstrates the relative stablility/unstability of a given harmonic
function i.e. the most stable chord function (the tonic) appears at the top of the graphic and
conversely the least stable function (the dominant) appears at the bottom of the graphic. Note
the placement of subdominant and subdominant minor: the subdominant (major) appears
above the subdominant minor and, subdominant minor appears above the dominant.

figure 34-2 Tonic

Cma7 Emi7Ami7
^ www www
& wwww
Most Stable

w w
Subdominant
Dmi7 Fma7 B !ma7
w
b www
Subdominant Minor
www Dº Fmi6 Fmi m a7 Fmi7 B !7 A !ma7 D !ma7
& wwww w www b www
w ww w
w b w
w w b
& b www b ww b ww b ww b www b w b w
G7
www
& w
v
Each function can flow
to the other - but with a
Least Stable specific musical effect
Dominant
- 222 -
 3•0 The three diminished 7th chord functions:

It is common to think of diminished 7th chords as passing chords or, as associated chords
used in dominant 7ths. These uses of diminished 7ths are generally correct, but an
examination of the way they are used, will reveal three specific functions. Although they
resemble each other in some ways, each individual function has unique applications.
The three functions are called:

3•1 dominant function (leading tone function),

3•2 passing function,
3•3 auxiliary function.

3•1 Dominant function of Diminished 7ths.

Because the diminished 7th chord can be built on the 3rd of a dominant 7th chord to form
a 7(b9) chord, it can operate like a dominant 7th on its own. This is due to the powerful
symmetry and pulling tendencies of the diminished 7th chord (note the two tritone intervals
in the diminished 7th chord). Figure 36-2 illustrates Edim7 and then Edim7/C = C7(b9)

[ Edim7/C ]
figure 36-2

Edim7 Cï
tritones:
G—Db & bb wwww bb www
ww
E—Bb

Diminished 7ths functioning in this way are generally used as secondary dominants (see
chapters 26—32). The dim7 chord is built on the leading tone of the intended destination
chord. In figure 36-3 the example in C major illustrates the passage from tonic (C6) to
subdominant (Dmi7) through a C#dim7 chord. C# is the leading tone of D (minor). Here
C#dim7 acts as an A7(b9), the dominant of Dmi (Dmi7). C#dim/A = A7(b9) which is a
secondary dominant in C major.

C6 C #dim7 Dm i 7
figure 36-3

&  b#  www

# w

C #dim7/A
C# is the leading tone to Dmi

Dm i 7
C# is the third of A7 (the V7 of Dmi)
C6 Aï
&  b  www
 #  w
- 238 -
43 - Slash-Chords: Chord Forms Over Bass Notes, Creating Chord
Quality
They are called “slash-chords” because of the slanted line (the slash) between the chord
symbol and the bass note (root). The slash indicates that the chord is over the bass note
(usually the root). Slash-chords generally have a particular voicing effect which creates an
open sound. They have a multiplicity of uses, from soft ballads to loud rock-style sounds.
The open nature of this voicing, can create extensions of a chord yet will often omit some of
the fundamental voices of a chord, resulting in a vague haunting sound that may only imply
chord quality. Many of these voicings are related to the pluralities outlined in chapter 42.
Slash-chords often result in a thinner chord texture but are generally very efficient in terms
of implying a harmonic definition and direction. The voicings are outlined in figure 43-1:

1•0 with all major triad/bass note combinantions

2•0 with all minor triad/bass note combinantions
3•0 with all augmented and diminished triad/bass note combinantions
4•0 with common 7th chord/bass note combinations
5•0 slash chords under a melody
figure 43-1

1•0 All major triad/bass-note combinations with functional descriptions for

each slash-chord.

A !/G A/G B !/G B/G C/G D !/G

& b ww #nn www b www #n# www n www nbb www
bw
?
w w w w w w
implied G phrygian.G lydian. Gmi7. G dor. GMa7(#5) 2nd inversion implies G loc.
har- G7 Har- G lydian b7 G aeol. G phry. G Har-maj. C major (sub- also G7(b9#11)
mony: uses dim 1/2-
min-dom. A7/G III of E har- dominant in G)
G Har-min- min. whole and/or
dom-#9. G alt.

D/G E !/G E/G F/G G !/G

n www bbb www

& #nn www bb www #nn www

?
w w w w w
GMa9 passing chord implies G9sus4 mixo. GdimMa7 (dim
major, lydian, in G alt-dom. G13(b9) implies Gmi9 function)
also could be dominant implies Eb7(#9)
minor
(GmiMa9)
- 297 -
44 - The “Sound”: A Slash-Chord Approach to Jazz Piano Voicing
These voicings are a series of complex 7th chords used in various ways to create many of the same
left-hand rootless voicings using 7/3 with extensions (9 & 13) illustrated in chapters 20 and 21. As a
slash-chord, the “sound” most used is the Ma7(b5) chord, called a stock 13. Most complex 7ths can
be used as slash-chords to produce a number of extended chord qualities. The “sounds” under
discussion are designated with acronyms (S1—PS1—PPS1, and S2—PS2—PPS2), using a system
which attempts to describe ii—V—I and the application of the bebop cliché (figure 36-20).

1•0 Ma7(b5)—(Sound 1 [S1])—(PS1 is a Ma7 chord),

2•0 miMa7(b5) [dimMa7]—(Sound 2 [S2]), The attempt here is to
create a “short-hand”
3•0 Ma7(#5)—(Pre-Pre-Sound 1[PPS1]), method of describing
4•0 miMa7—(Pre-Sound 2 [PS2]), slash-chords in a ii—
5•0 miMa7(#5)—(Pre-Pre-Sound 2 [PPS2]), V—I which includes
6•0 7(b5), 7(#5) and mi7(b5), the bebop cliché.
7•0 V/I: the “New Sound” (NS)—G/C (G2nd inv/C).

1•0 Ma7(b5)—(sound 1 [S1]) Sound 1(S1) slash chords are illustrated in figure 44-1.
figure 44-1

1•1 Sound one Ma7(b5) [FMa7(b5) used in this example] as a slash-chord creates these
4 qualities:

chord quality------------------- G13 ------------------ D !7(#9#5)------------ Dmi6/9------------- Bmi11(b5)

slash chord--------------------- Fma7(b5)/G----------- Fma7(b5)/D ! ------- Fma7(b5)/D --------- Fma7(b5)/B

www Fma7(b5) www www www

Roman Numeral Analysis----bVIIMa7(b5)/I-------III(S1)/I------------bIII(S1)/I-----------bV(S1)/I

? w w w ww
most common
w bw w
harmonic function--------------dominant-------altered dominant----tonic minor----sub-dom-mi (ii)
V7 (V13) V7(#9#5) Imi6/9 iimi11(b5)

Clarification of 1•1 in figure 41-1:

G13, Db7(#9#5), and Dmi6/9 are essentially the same voicings discussed in chapter 20 and 21,
Bmi11(b5) as shown, has no minor 3rd, but it is implied by the existence of the 11th in the
same chord since the 11th cannot (generally) co-exist with a major 3rd in the same chord. The
11th can co-exist with a minor 3rd (see 2•3 in Chapter 20).

Practise these voicings through chromatic sequences and inversions. Some typical progressions
can be played by using (S1) [Ma7(b5)] alone. Figure 44-2 illustrates some of the possibilities.

- 302 -
 The benign nature of the pentatonic scale allows for the application of certain slash-chord
roots and resultant chord qualities for use in all harmonic functions. There are at least 5
qualities created with the pentatonic scale over a root. Other qualities can use the sound
and shape of certain pentatonic chord/scales without interfering with that chord’s quality
and function. Figure 45-3 illustrates pentatonic slash-chord qualities and figure 45-4
illustrates associated pentatonics as slash chords over the remaining chord types.
figure 45-3

These 5 roots (C, A, D, F, and Bb) create slash-chord qualities from any rotation or any voicing of
the C pentatonic scale. Since these voicings contain the same notes, anyone of them can function as
the upper component over these slash-chord roots.

C major pentatonic chord voicings /C, /A /D /F /Bb

Cpent/C Cpent/A Cpent/D Cpent/F Cpent/B !

CH Ami11 D9sus4 Fma13 B !ma13(#11)
ww ww ww ww
& www w w w w

ww ww ww ww
? www w w w
ww ) w) ( w )
b w
( w)
( ( )
(
RNA:
Ipent/I ------------ bIIIpent/I ---------- bVIIpent/I ----------- Vpent/I ---------- IIpent/I

figure 45-4 C major pentatonic chord voicings /C7 /Gb7 /Emi7(b5) /Gmima7 /Dmi9
Cpent/C7 Cpent/G !7 Cpent/Emi7(b5) Cpent/Gmima7 Cpent/Dmi9
C13 G !7(#9#5#11) Emi11(b5) Gmima11 wDmi11
ww ww ww ww
ww ww ww ww ww
& www w w w

? b ww b ww b www b# wwww w
n wwww
bw
RNA:
Ipent/I7 --------- bVpent/I7 ---------- bVIpent/Imi7(b5)----IVpent/ImiMa7-----bVIIpent/Imi9

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 1•2 All qualities of 7th chords can be converted into Drop 2 (and Drop 3, and Drop 2&4).

Figure 46-3 is a repeat of figure 15-1 which lists the most commonly used closed voiced 7ths
chords. Included in figure 46-3 is a root-position-conversion of each closed voiced 7th chord
into a Drop 2 voicing. When learning Drop 2 voicings it is best to start with the first 6 or 7
basic qualities (Ma7, 7, mi7 [Ma6], mi7(b5) [mi6], dim7, 7(#5), 7sus 4).

figure 46-3 Commonly used 7th chords

Cma7 C7 Cm i 7 Cmi7(b5) Cdim7 C7aug C6 Cmi6 C7sus4 Cma7(#5) Cmima7 Cma7(b5) C7(b5) Cmima7(b5)
& ww b www bb www bbb www bb www #nb www nn www b www b www #nn www nbn www bnn www bb www bbn www
ww w w w w w w w w w w w w w
7 b7 b7 b7 6 b7 6 6 b7 7 7 7 b7 7
5 5 5 b5 b5 #5 5 5 5 #5 5 b5 b5 b5
3 3 b3 b3 b3 3 3 b3 4 3 b3 3 3 b3
1 1 1 1 1 1 1 1 1 1 1 1 1 1

Commonly used 7th chords as Drop 2’s

Cma7 C7 Cm i 7 Cmi7(b5) Cdim7 C7aug C6 Cmi6 C7sus4 Cma7(#5) Cmima7 Cma7(b5) C7(b5) Cmima7(b5)
& www b www bb www bb www b www nb www n www b www b www n n www bn www n n www b www b n www
w w w bw b w #w n w w w #w nw bw bw bw
7 b7 b7 b7 6 b7 6 6 b7 7 7 7 b7 7
3 3 b3 b3 b3 3 3 b3 4 3 b3 3 3 b3
1 1 1 1 1 1 1 1 1 1 1 1 1 1
5 5 5 b5 b5 #5 5 5 5 #5 5 b5 b5 b5

1•3 Avoiding the minor 9th clash in 1st inversion Ma7 chords.

A minor 9th clash is created when the root of the Drop 2 is in the top voice and the Major 7th
is in the bottom voice (as in a 1st inversion Ma7 chord). This is true no matter what kind of 3rd
or 5th the chord has—the potential clash is between the root and the major 7th.

There are a couple of ways to diffuse this: (see figure 46-4)

1•3•1 replace the root in the melody for the 9th (9 for 1),
1•3•2 replace the Major 7th with the 6th (6 for 7).
figure 46-4

Cma7 Cma9 Cma7 C6

(1st inversion) 9 for 1 6 for 7

ww ww ww ww
& ww ww & ww ww
min. 9th clash min. 9th clash
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 3•0 Comping offsets phrasing and interacts with melodic rhythm.

Note the abbreviations found in figure 47-4:

3•1 at the beginning of a phrase (BP),

3•2 at the end of a phrase (EP),
3•3 and in the middle of a phrase (MP).

Figure 47-4 provides a small example of each of the above points.

figure 47-4

>
(changes) Ready For Another Step (excerpt)
> ^
Phrasing:

G m i7 C7 A m i7 D7 F # m i7 B7 Ema7

& b ‰œœœœœŒ ‰ œœœœœŒ ‰ œ #œ œ #œ œ nœ œ nœ #œ #œ œ

œœ œœ  # œœ # œœ œœœ œœœk œœœ
? œœ ‰ Œ Œ œœ ‰ #
J‰Œ Œ J ‰ J Œ ‰ J‰ J# Œ
b J J
Comping: BP------------EP-----BP--------------EP-----BP--------------MP---------------MP---MP----MP

4•0 Comping can help to generate harmonic color and harmonic rhythm:

4•1 harmonic color—upper extensions add color and color/intensity direction (figure 47-5).
4•2 harmonic rhythm (harmonic rate can be changed from 1 change per bar to 2, 3, or 4
changes to the bar (see figure 47-6).
figure 47-5

Gmi9 C13 A mi11 Dó F # mi11 B13

>Ema9 # œ> EH ^
extensions added

b ‰ œ œ œ Œ ‰ œ œ œœ Œ ‰ # œ œ# œ œ n œ nœ
& œ œ œ œ œ #œ œ
œœ œœ n œœœœ b œœœ n  # œœœ œœœk œœœ
œ œ
? b œ ‰Œ Œ œ ‰ J ‰Œ Œ # œ ‰ #  b
‰ # ## œœœœ Œ n œ #
‰ ## œœ‰ Jœ œ œ Œ
# œ
J J J J J

Gmi9 Gmima9 G mi11 C13 A m i7 Dò Dó F #mi9 C® B13 F13

rate of harmonic change increased

œ
figure 47-6

& b ‰ œ œœ œ œ Œ ‰œ œ œ œ œŒ ‰ œ #œ # œ œ nœ œ
œ
? b œœ
œ œ œ
# œœœ n œœœ œœœ n œœœ œœœœ # œœœœ b œœœœ # # œœœœ ‰ œœœœ a#œœœœ bn œœœœ
J
- 385 -
 2•0 Phrasing using a polarized passing-tone scale: starting on the beat —
starting off the beat. Figure 50-3 illustrates.

2•1 The polarized passing-tone scale can be a useful tool for establishing chord
tones in a scale-like melodic line. In 4/4 time these scales will play the chord-
tones on the beat if the scale/line begins on a chord tone on the beat.

2•2 The off-beat notes in the scalar line will be non-chord-tones and in fact will be
the notes of the polar opposite of the chord of the moment. Since any
chord of the moment will be spelled out if a scale-like phrase starts on the
beat with any chord-tone, the same is true if the line starts on the off-
beat with a non-chord tone (any note of the chord-of-opposite-polarity).

2•3 Other adjacent chromatic tones may be added to the polarized scales as long as
the line comes back to chord tones on the beat—non-chord-tones on the
off-beat before the phrase ends.

figure 50-3

2•1 Chord tones on the beat in a polarized scale. Note the leaps from chord tone to chord tone.
As long as chord-tones are on the beat and non-chord-tones (or polar-chord tones) are on the off-beat,
the integrity of the statement in 2•1 holds true.

Dmi7 G7
chord-tone: •
polar-chord tone: *

• * • œ* •œ œ* •
œ œ œ # œ œ œ a œ œ œœœœœœ
& Œ #œ nœ œ œ œ œ œ œ œ œ #œ œ
• * • * • * • * • • • * • * * • * • * • * •

2•2 The off-beat notes in a scalar line will be the notes of the polar opposite of the chord/scale.
This means that if this idea is maintained, phrases that start on the off-beat should start on polar-
chord-tones (the dominant component of a polarized scale).

Dmi7 G7

œ œ œ
œ œ œ œ œ #œ œ ‰ ‰ J œ œ œ œ œ # œ œ œ J‰‰ j œ œ œ œ
œ œ
‰ # œ
* • * • • • *
• * • * • * • * • * • • • * • * • • • •

& J J œ #œ

- 411 -